Mic pre into a compressor to DAW?

[MDslammer]

Hello,

I have a question regarding my drum mix.

I run all my mics into mic pres then into my DAW.

My question is, do any of you run the mic pre into a compressor before going to the DAW?

I'm thinking maybe the kick and snare mics might benefit from doing this, but have no experience doing so.

I'd like some advice before investing in more gear.

Thanks

Mark

[James Perrett]

I have done this in the past when I only had 16 bit convertors and limited processing power in the DAW but these days I probably wouldn't compress on the way in. You can do so much more with digital compressors these days - particularly as you can do things like start the digital compressor's attack before the sound itself starts.

[Hugh Robjohns]

My question is, do any of you run the mic pre into a compressor before going to the DAW?

No. There's no technical need to, and there's much more flexibility when processing in the DAW.

[Aled Hughes]

As Hugh says, there's not technical reason to do so, but I still do it.

We have a nice collection of vintage outboard at the studio, so I often patch the compressors on the way in (1176s, LA3As, Avalon) because I know what they do, and I'm careful not to overcook it. They sound nice and I like using them, and there's no guarantee that I'll be mixing in that room, so that's why I use them on the way in.

I also do a variation on the 'mixing to pink noise' method that was covered a few years ago in the magazine to set up a quick initial mix - some mild compression on the way in can speed up that process slightly too, I find.

[Hugh Robjohns]

...I often patch the compressors on the way in (1176s, LA3As, Avalon) because I know what they do, and I'm careful not to overcook it.

Fair enough...

It's not unusual to want/need compression on some elements of a drum set, and/or across the whole drum bus, and if you know exactly what you need and how to achieve it from the outset then applying dynamics on the way in can save time and remove a time-consuming decision tree from the mix stage.

But once done it's impossible to undo, so this approach really does rely on experience, knowledge and a clear-minded approach.

Nothing wrong at all compressing on the way in if you know what you're doing... but whereas it was once an essential step due to the dynamic limitations of tape, it isn't any more, and recording flat obviously leaves options open and avoids potentially costly mistakes for beginners.

[The Elf]

I have a few bits of nice hardware in the studio, but I would never use them as recording - it's less faff and safer to add them once I have a clean recording in the bag.

The main reason? Because setting the controls is much easier once I know what I have to work with - and I can adjust the controls during the FX pass to react to anything unexpected at the time, but now repeatedly predictable.

[paul tha other]

although as other have said here there is no need to compress on the way in(an i agree with them) but its a habit i cant stop...most of the time i compress the kick, snare and the room mic on the way in for a few differant reasons but its never done with crazy settings more a stop the level going above a certain threshold and its gentle on the way in.its a hangover from my 16 track days, when i only had 2 compressors

[ronmac]

I am in the “no need to compress on the way in” camp, I will sometimes apply some compression to the artist mix/fold back for their benefit.

[MDslammer]

Thank you all for taking time to express your opinions and personal experiences.

I may try compressing the kick/snare mics just to experiment and see what comes out.

Much appreciated fellas.

[Mixedup]

I get both sides of the argument. But for rock/pop stuff I often use gentle EQ and compression while tracking, knowing that I'll probably add more later. Mixing becomes WAY less hassle this way IMHO — quicker, and more about mixing; less about reshaping a bunch of sounds you didn't think hard enough about while tracking! But, obviously, you need to know your compressor and what you're aiming for to work that way.

[The Elf]

I get both sides of the argument. But for rock/pop stuff I often use gentle EQ and compression while tracking, knowing that I'll probably add more later. Mixing becomes WAY less hassle this way IMHO — quicker, and more about mixing; less about reshaping a bunch of sounds you didn't think hard enough about while tracking! But, obviously, you need to know your compressor and what you're aiming for to work that way.

I have no problem with everyone doing things their own way, but why do you say it makes mixing 'WAY less hassle'? I can't imagine what major difference it is making that can't be handled after the recording.

Honestly not being argumentative, but genuinely curious!

[Hugh Robjohns]

I think its just a case of if you record the sound you (know you) want, you don't have to spend time building that sound before finessing the mix. Hence easy and quicker...

... if you know the sound you want and how to get it during tracking.

[The Elf]

Sure, I can see that, but all it would take is adding, before mixing, the same process that would have been added before recording. That doesn't seem such a huge task to me. I'm genuinely wondering if I'm missing something.

[Hugh Robjohns]

I don't think you're missing anything at all...

[Mixedup]

Yes, it saves time. And saving time allows you to mix quicker. And mixing quicker both reduces listening fatigue and allows you to focus on the stuff that matters... the music and the feel of the piece.

It also often leaves you needing fewer plug-ins to achieve a similar thing, which saves CPU, and thus potentially headaches further down the line on a big mix.

But it's mainly about mindset: I'm increasingly of the opinion that committing to decisions as early as is viable is a healthy, productive approach generally. It counters my tendency to procrastinate and go looking for that perfect plug-in... which invariably makes me take my, erm, ear? off the ball.

Oh... and some hardware still sounds better. Or requires less effort to make it sound 'right'.

This is my view, of course: YMMV...

[The Elf]

No, that's fair enough. I think maybe a bit overstated, but I can forgive you that!

[Martin Walker]

I may try compressing the kick/snare mics just to experiment and see what comes out.

Ironically this is one case where I definitely prefer to compress afterwards, as the end result can be so dependent on how the kick and snare fit with everything else in the mix (parallel compression can work wonders for instance, but you can only really adjust this in the context of the overall mix).

Then again, if you get a sound you like with compression recorded on the way in you can always tweak ITB with another compressor later on

Martin

[Mixedup]

No, that's fair enough. I think maybe a bit overstated, but I can forgive you that!

Haha. Yes, this wasn't intended as a persuasive argument... just spelling out the reasons I do it, since you and others seemed unclear about it. There are potential cons too, and recording without processing is a perfectly valid approach.

[Terrible.dee]

"Should you, or shouldn't you" is NOT the point.

YOU as the "recordist" are tasked with recording the sounds YOU want to hear. The means by which you achieve this are entirely up to you.

Does it sound good? Does it sound closer to what you are going for? Then it's good!

I will give you this little bit of advice however.....record what you want to hear, don't try and "create" a sound via plug-ins or other B.S after the fact.

If it doesn't sound right, it's not ready to be recorded.

Also, MOVE QUICKLY....one of the worst symptoms of the DAW age is people getting bogged down with a billion different options in all phases of recording.

Get the sound you want, get the performance you want....get paid and get going.

Practice makes perfect, so I would suggest A-B 'ing some sounds. Recorded dry, and with compression on the way in.

When you start to grasp the nuances of one vs the other, then you will see how going one way or the other will help get you where you want to go.

But remember.....you need to have a destination. You need to know where you want to go. Once you do, you'll KNOW what to do.

[DC-Choppah]

Just get used to turning the mic gain down and record way below any chance of clipping.

Yellow is the new Red! Stay Green.

In digital land you record cold, not hot. If you want the source to sound distorted or 'hot' then just add that to the source itself.